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He Is, He Said: Capitol Preps Neil Diamond’s “All-Time Greatest Hits”

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Neil Diamond - All Time Greatest HitsIn January of this year, Neil Diamond ended his 40+-year association with Columbia Records, decamping to Universal Music Group’s Capitol label along with his complete Bang and Columbia masters. The deal united Diamond’s Uni catalogue with the Bang and Columbia material that bookended it, bringing the legendary performer’s complete recordings under one roof. Tomorrow, the first results of the new Capitol deal will arrive in stores. Expectedly, it’s a single-disc retrospective intended to replace the deleted Columbia/Legacy release The Very Best of Neil Diamond. That was the first 1-CD anthology to contain music from all of Diamond’s label affiliations; past compilations had either concentrated on one label or substituted live songs for tracks not controlled by that label. All-Time Greatest Hits naturally follows suit. In fact, 19 of the 23 tracks on the new collection from the Kennedy Center Honoree and Rock and Roll Hall of Famer are identical.

As with The Very Best, All-Time Greatest Hits attempts to prune the prolific artist’s catalogue of over 30 studio albums (16 of which went Top 10) and over 50 charting singles (37 of which went Top 10). All of Diamond’s No. 1 singles are represented: 1970’s “Cracklin’ Rosie,” 1972’s “Song Sung Blue” and 1978’s “You Don’t Bring Me Flowers.” However, there’s one key difference here. Whereas The Very Best included the chart-topping duet of “Flowers” with Barbra Streisand, All-Time Greatest instead features Diamond’s original solo version of the song he co-wrote with Alan and Marilyn Bergman. There are eight more Top 10 singles on All-Time Greatest, spanning the period between 1966’s “Cherry, Cherry” and 1980’s “Hello, Again,” “Love on the Rocks” and “America,” all from the soundtrack to The Jazz Singer (Diamond’s lone previous release on Capitol).

Diamond’s tenure at Bert Berns’ New York-based Bang Records is covered with seven songs produced by the legendary Brill Building team of Jeff Barry and Ellie Greenwich; the music of this rich period (recently anthologized by Legacy as The Bang Years: 1966-1968) remains the cornerstone of Diamond’s career, with such titles as “I’m a Believer” and “Red Red Wine” (both of which scored hit versions by other artists), “Girl, You’ll Be a Woman Soon” and “Kentucky Woman.” From Bang, Diamond moved to even bigger successes the Uni label. Good times never felt so good as songs like “Sweet Caroline” and “Cracklin’ Rosie,” though Diamond also mined more introspective, moody material like “Play Me” and imbued “Brother Love’s Travelling Salvation Show” and “Holly Holy” with spiritual fervor.

From Uni, it was onto Columbia Records. The singer-songwriter’s initial Columbia release, 1973’s Jonathan Livingston Seagull, was the soundtrack to Hall Bartlett’s adaptation of Richard Bach’s novella of the same title. Diamond’s Grammy- and Golden Globe-winning soundtrack hit No. 2 on the pop albums chart and reportedly earned more than the film itself! Though no tracks from Seagull have made the cut here, Diamond was off and running. 1976’s Beautiful Noise teamed him with The Band’s Robbie Robertson; its title song appears on the new compilation. Shortly thereafter, Diamond began a collaboration with The Four Seasons’ producer Bob Gaudio, who guided Diamond through hits like “You Don’t Bring Me Flowers,” “September Morn” (also included here) and the Jazz Singer score.

Though Diamond’s pace hardly slowed up, the 1980s aren’t represented on the new set beyond The Jazz Singer. 1982’s “Heartlight” (co-written with Burt Bacharach and Carole Bayer Sager, and unfortunately not heard here) was his final Top 5 pop hit, but Diamond remained a concert draw and a popular recording artist. His “comeback” albums produced by Rick Rubin (Johnny Cash, Red Hot Chili Peppers), 2005’s 12 Songs and 2008’s Home Before Dark, scored him some of the biggest acclaim of his career, as he returned to writing solo and playing his guitar. Home Before Dark must have been a particularly sweet victory for Diamond when he scored his first-ever No. 1 album! Diamond continued Rubin’s stark, stripped-down approach with 2010’s self-produced Dreams, a collection of cover songs largely written by Diamond s contemporaries.)

After the jump, we have more details including the complete track listing with discography!

What’s missing from All-Time Greatest Hits? Compared to The Very Best, this disc drops Easy Listening chart-topper “If You Know What I Mean” as well as the Rubin-produced comeback tracks “Pretty Amazing Grace” and “Hell Yeah.” In their place, it adds “September Morn” (No. 17 Pop, No. 2 AC, 1979), “Soolaimon” (No. 30 Pop/No. 5 AC, 1970) and, most oddly, “Morningside” from 1972’s Moods. Fans might lament the absence of “Longfellow Serenade,” “Heartlight,” “Be,” “Desiree” and “Brooklyn Roads,” to name just a few beloved songs that didn’t make the cut either here or on The Very Best.

Capitol’s release of All-Time Greatest Hits arrives in stores tomorrow, July 8. The label is also promising a new album of original material – Diamond’s first since 2008 – this fall. In the meantime, those interested can order the new compilation below!

Neil Diamond, All-Time Greatest Hits (Capitol, 2014) (Amazon U.S. / Amazon U.K.)

  1. Cracklin’ Rosie
  2. Forever in Blue Jeans
  3. Song Sung Blue
  4. Sweet Caroline
  5. Holly Holy
  6. Red Red Wine
  7. Hello Again
  8. Beautiful Noise
  9. America
  10. September Morn
  11. Love on the Rocks
  12. Shilo
  13. You Don’t Bring Me Flowers (Solo)
  14. Morningside
  15. Soolaimon
  16. Play Me
  17. Kentucky Woman
  18. Girl You’ll Be a Woman Soon
  19. Solitary Man
  20. I’m a Believer
  21. Brother Love’s Traveling Salvation Show
  22. Cherry Cherry
  23. I Am, I Said

Tracks 1 & 15 from Tap Root Manuscript, Uni 73092, 1970
Track 2 from You Don’t Bring Me Flowers, Columbia FC 35625, 1978
Tracks 3, 14 & 16 from Moods, Uni 93136, 1972
Tracks 4 & 21 from Brother Love’s Traveling Salvation Show, Uni 73047, 1969
Track 5 from Touching You…Touching Me, Uni 73071, 1969
Tracks 6, 12, 17-18 & 20 from Just for You, Bang BLP-217, 1967
Tracks 7, 9 & 11 from The Jazz Singer, Capitol SWAV-12120, 1980
Track 10 from September Morn, Columbia FC 36121, 1979
Track 13 from I’m Glad You’re Here with Me Tonight, Columbia PC 34990, 1977
Tracks 19 & 22 from The Feel of Neil Diamond, BLP-214, 1966
Track 23 from Stones, Uni 93106, 1971

Written by Joe Marchese

July 7, 2014 at 10:41

10 Responses

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  1. I see that Sony isn’t playing nice by not licensing the duet version of “You Don’t Bring Me Flowers”. Sour grapes. And why is “Heartlight” is missing…? Kidding, sorta.

    DanaDotCom

    July 7, 2014 at 14:17

    • Sony has nothing to do with it. ALL of Diamond’s music is now at Capitol, so they can put whatever songs they want on their new Hits collection.

      Why the world needs another yet another one is a different matter.

      Shaun

      July 7, 2014 at 21:51

      • Sony does have something to do with it, as Streisand is still on the label and using the duet version would require their licensing.

        DanaDotCom

        July 8, 2014 at 08:29

      • Maybe… But I’d have to guess that Diamond’s album with the duet (same name as the song) is part of the Capitol deal. If they can have it on there, why wouldn’t they be able to put it on the new collection?

        I’m not sure it’s quite the same thing, but that would seem to be like Capitol not being able to use “While My Guitar Gently Weeps” on a Beatles compilation without going to Clapton’s label for permission.

        Shaun

        July 8, 2014 at 19:41

      • Not being a nasty, but just some insight…Contracts and licensing between labels are typically very detailed about how artists not on the label are to be marketed. I used to work for an artist who owned much of his own publishing (except for two very keys properties) and was involved with constructing such contracts. It’s very reasonable that Sony licensed the Streisand duet for the Diamond LP (for continuity’s sake), but not for inclusion on any hits compilations for concern of diminishing any future commercial interests of Streisand product. This is usually the reason songs that are prominently featured in films do not appear on the film’s soundtrack (and suddenly that artist has new hits package on the market), or why an artist’s or group’s hits package may include a live or “new” version of a big hit they had for another label. Publishing, licensing, contractual agreements between artist and labels that share mutual interest in published and recorded materials are extremely specific with how said material can be used, marketed, represented. Much of it is legality and publishing ownership, but some of it also comes down to personal and respectful business relationships, as is probably the case with the Harrison/Clapton arrangement. Streisand is known for her shrewd business savvy and she most likely is privy to the notion that her fans who will sink $$$ into material with her name on it before they will do the same for Diamond’s products

        DanaDotCom

        July 9, 2014 at 14:05

      • “The More You Know!”

        *STAR WIPE*

        Just kidding… Thanks for the info!

        Shaun

        July 9, 2014 at 19:40

  2. Wow! I don’t know where I have been that I hadn’t heard Neil Diamond left Columbia until reading this post just now. That is huge I was also unaware that he owned his catalog and is now taking it to Universal. Man, that company just keeps getting bigger and bigger. It will be interesting to see what they do with his album catalog titles or if we will just get more rehash hits packages as they are so fond of doing, ICON, Gold etc.

    Zubb

    July 7, 2014 at 14:18

  3. I wish they would get around to remastering “Moods”. It’s decades overdue.

    Ernie

    July 7, 2014 at 15:30

    • I totally agree. Moods is a classic that deserves better treatment.

      Zubb

      July 7, 2014 at 20:10

  4. Much of the catalog transitioned digitally on July 1st. The artwork available with them is improved in the transition with all the artwork that had been blurry booklet scans prominently featuring Compact Disc logos having been replaced with much sharper artwork. No idea about the audio content, perhaps someone at The Second Disc has contacts that can find out.

    Robert

    July 7, 2014 at 18:33


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